The year is 1932. Actually, no it’s not. It’s the present day, where we see a young girl clutching a book visiting a key-strewn memorial in an Eastern European graveyard. Then we jump back to 1985, where an author (Tom Wilkinson) gives a televised lecture interrupted by a small child. He’s talking about how stories present themselves to an author; his example takes place in 1968, when he (now played by Jude Law) was staying in the now-drab Grand Hotel Budapest, located in the (fictional) now-communist Eastern European country of Zubrowka.
Award winning Singer songwriter Timothy Carroll and Producer cross Guitarist Oscar Dawson came along 3 years ago to create the band Holy Holy, demoing in stairwells and apartments in Stockholm and Berlin the boys released a full length Album on their return. Driving along listening to triple J yesterday I had to pull over and shazam a song that turned out to be Holy Holy’s latest single ‘House of Cards’.
If intro songs were the be all and end all of an album, then Teeth & Tongue would have Grids in the charts. Starting off with their track ‘Good Man’, also played on triple j, listeners are immediately acquainted with the quirky, slightly ’80s sounds of Teeth & Tongue.
There’s nothing quite like an album that opens with a track titled ‘Whore’ and then follows it up with 15 equally original, albeit less insulting, track titles. Born and raised in Detroit, Rollo Ellis has been playing in bands since he was 14-years-old. Amongst his vast history in the music industry, he’s played solo naked, traded in a Les Paul guitar for an acoustic, and numerous other interesting life events.
Is it wrong to be sold on an album based entirely on their cover design? If it is, then call me a sinner because Future Islands’ album, Singles, is damn attractive. Luckily, the contents of the pretty cardboard casing aren’t too bad either. Just imagine the typical ’80s video clip with a man singing evocatively by the beach and you’ve got Future Islands’ sound down to a T.
First things first: the Australian edition of Danish director Lars Von Trier’s highly anticipated sex-fest isn’t actually porn. Australia is currently getting the conjoined four hour version (with a ten minute interval) rather than the original two separate films (over five hours in total).
Bruce Garrett (Nick Frost) used to be a shining light in the world of Salsa dancing. Under the tutelage of grumpy sod Ron Parfait (Ian McShane) and with his younger sister Sam (Olivia Colman) as his partner, his teenage self filled his shelves with trophies. And then, on the night of the national finals, he was cornered in a parking garage by a gang of bullies. They made him eat the sequins off his shirt, he skipped the finals, called up Ron to say “Salsa’s for pussies”, and turned his back on dance forever.
The Raid was a lean, brutal, propulsive action thriller laced with jaw-dropping fights and a structure that kept the endless violence fresh (basically, they started with guns, then knives, then fists, then whatever was lying around). In the sequel, director Gareth Evans has decided to expand both the fights and the story – only it seems bigger isn’t always better.
Forget all the “is it faithful to The Bible or not” chatter. The real thing to be thinking about going in to see director Darren Aronofsky’s epic is “how are they going to turn the Bible story into a two-hour twenty-minute movie?” And how, you might ask, they’re going to spice things up with all manner of crazy new additions – yes, this is a movie where fallen angels have turned into rock monsters. The real answer involves less magical fantasy and more shots of a brooding Russell Crowe.
Anyone who’s been following the rise of the Lego gaming franchise knows that the little plastic blocks aren’t just for sticking together any more. So what’s surprising about their first big screen outing is the way it manages to not only capture the silly fun of the games, but build on it to create a movie that’s one of the first really impressive animated features in a long, long time (sorry Mr Peabody & Sherman).